“The Royal Academy,” says Cunningham, “was planned and proposed in 1768 by Chambers, West, Cotes, and Moser; the caution or timidity of Reynolds kept him for some time from assisting. A list of thirty members was made out; and West, a prudent and amiable man, called on Reynolds, and, in a conference of two hours’ continuance, succeeded in persuading him to join them. He ordered his carriage, and, accompanied by West, entered the room where his brother artists were assembled. They rose up to a man, and saluted him ‘President.’ He was affected by the compliment, but declined the honor till he had talked with Johnson and Burke; he went, consulted his friends, and having considered the consequences carefully, then consented. He expressed his belief at the same time that their scheme was a mere delusion: the King, he said, would not patronize nor even acknowledge them, as his majesty was well known to be the friend of another body—The Incorporated Society of Artists.”
The truth is, the Royal Academy was planned at the suggestion of the King himself. He had learned, through West, the causes of the indecent bickerings in the Society of Artists, and declared to him that he was ready to patronize any institution founded on principles calculated to advance the interests of art. West communicated the King’s declaration to some of the dissenters, who drew up a plan which the king corrected with his own hand. See Spooner’s Dictionary of Painters, Engravers, Sculptors, and Architects, article West.
REYNOLDS AND DR. JOHNSON.
In the year 1754, Reynolds accidentally made the acquaintance of Dr. Samuel Johnson, which ripened into a mutual and warm friendship, that continued through life. Of the fruit which he derived from this intercourse, Reynolds thus speaks, in one of his Discourses on Art:
“Whatever merit these Discourses may have, must be imputed in a great measure to the education which I may be said to have had under Dr. Johnson. I do not mean to say, though it certainly would be to the credit of these Discourses if I could say it with truth, that he contributed even a single sentiment to them; but he qualified my mind to think justly. No man had, like him, the art of teaching inferior minds the art of thinking. Perhaps other men might have equal knowledge, but few were so communicative. His great pleasure was to talk to those who looked up to him. It was here he exhibited his wonderful powers. The observations which he made on poetry, on life, and on everything about us, I applied to one art—with what success, others must judge.”
DR. JOHNSON’S FRIENDSHIP FOR REYNOLDS.
In 1764, Reynolds was attacked by a sudden and dangerous illness. He was cheered by the sympathy of many friends, and by the solicitude of Johnson, who thus wrote him from Northamptonshire:
“I did not hear of your sickness till I heard likewise of your recovery, and therefore escaped that part of your pain which every man must feel to whom you are known as you are known to me. If the amusement of my company can exhilarate the languor of a slow recovery, I will not delay a day to come to you; for I know not how I can so effectually promote my own pleasure as by pleasing you, or my own interest as by preserving you; in whom, if I should lose you, I should lose almost the only man whom I can call a friend.” He to whom Johnson could thus write, must have possessed many noble qualities, for no one could estimate human nature more truly than that illustrious man.
JOHNSON’S APOLOGY FOR PORTRAIT PAINTING.
Johnson showed his kindly feelings for Sir Joshua Reynolds, by writing the following apology for portrait painting. Had the same friendship induced him to compliment West, he doubtless would have written in a very different strain: